atomicvinyl

In the 80s and 90s, there were two bands that really pushed the LoFi aesthetic in America: Guided By Voices and Beat Happening. Daniel Johnson was another one who pushed LoFi -- but he was a solo artist, not a band.

You Turn Me On was released in 1992, and is considered their masterpiece. It was produced by Stuart Moxham from Young Marble Giants, and was the first time the band used multitrack recording and multilayered vocals.

This album has been reviewed with an Onkyo TX-8020 receiver, Jamo S60 SUR bookshelf speakers, Yamaha YST-FSW050 subwoofer, and Pioneer PL-255 direct drive turntable.

For sanity's sake, I decided to move my reviews to Tuesday. The reality of running a business is that my busiest days are on Monday, so attempting to write one of these 1,000 word reviews doesn't make sense on that day.

Up on the docket is Hex by Bark Psychosis. This album is extremely hard to describe. This is an extreme album, but not in a way you'd expect.

Now when most people hear the word "extreme", they think about bands like Napalm Death or Death Grips or John Zorn. You know, music that heavy or hard. Not in this case, however.

Bark Psychosis is one of the pioneers of post-rock. They're the missing link between Joy Division and Mogwai. Yes, I realize Talk Talk was also a missing link (and much more famous too) but Bark Psychosis seem more audacious. In many ways, I feel they showed potential for something that's still unexplored.

Themes

I've tried to make heads or tails about the lyrics, and I just can't. They're so mumbled, they might as well mean anything.

But there's something dark going on. Hex is like that long haul driver pausing at the rest stop but not staying too long lest some of "the regulars" start knowing on his door.

This whole album made me feel uneasy -- and that was a feat because it was no means super discordant. I mean, in many ways, it was relaxing, but I couldn't get too relaxed because, well, this is the musical equivalent of chloroform.

Sound

Durutti Column is the only act that reminds me of Bark Psychosis. And then only slightly.

Here's the best way of describing Hex. Imagine if Steve Albini produced a cool jazz band. Really imagine it. This is one of the most aggressively chill albums I've heard -- with an emphasis on aggressive.

It's funny, I used to wonder why such countercultural icons like Jack Kerouac listened to cool jazz. Because of Hex, I kind of know. The sheer detachment is menacing.

Hex can seem loud at times, but it really isn't. It's just an album that strictly manages the dynamic range so that when it gets loud, it seems louder.

Now let me ask, when was the last time you've heard something slow and quiet sound mean and nasty?

Tracklist

Side A

"The Loom" - 5:15

"A Street Scene" - 5:35

"Absent Friend" - 8:20

"Big Shot" - 5:17

Side B

"Fingerspit" - 8:21

"Eyes & Smiles" - 8:30

"Pendulum Man" - 9:53

Production

This album had a lot of producers and engineers, so I'll just list them by name: Neil Adridge, Chris Blair, Henry Binns, Lee Harris, John Ling, Mike Long, M.O.G., Pete Molyneaux, Mark Simnett, Graham Sutton, Darren Westbrook, Nick Wollage.

Apparently, Hex was recorded in a church, and this gave it a sense of space. This may also be why the dynamic range sounds so stunning. There was another band that took this approach, and that was the Cowboy Junkies. Like the Cowboy Junkies, Bark Psychosis made the most out of the sense of space to punctuate the quiet.

Packaging

Catalogue number is MR-SSS 519, re-issued by Vinilissimo, and manufactured in Spain during 2012.

The front cover features a black backdrop with a photograph of a city at night. It also displays the band at top and album name at bottom.

The back cover features tracklist, catalogue number, record label logo, and copyright information. It also has a black backdrop with white sans-serif fonts.

The innersleeve is black and white glossy paper with band portraits and personnel credits on one side, and what appears to be lyrics on the other side.

The vinyl disc is black. The engraving says, "103290E2/A".

The vinyl label is red, beige, and off-white. It shows band name, album name, side labels, tracklist with playing time, label logo, catalogue number, and copyright information.

Recommendation

Hex is expensive, and the cheapest copies on Discogs are going for $200 even for the re-issue. Now I got lucky and got this on sale for $80, so maybe you'll get lucky too. Now can I recommend this album as a buy at the current prize. Not at all.

But as music it's superb. If you get the chance to buy it on CD or hear it off iTunes, you absolutely should. As it is, this album is extremely underrated, and probably should be regarded as one of the classics of the 90s.

Yes, I bought this for $80.

Now you probably have one of two reactions here:

Oh my God, who would pay so much money for such an obscure album?

Holy shit! You got a steal!

Right now, you can't get Hex for less than $200 on Discogs. Such is the demand for this rarity -- and so $80 was a steal!

So why's this a big deal?

While Bark Psychosis has utterly no commercial appeal, they are one of the most influential bands of the post-rock genre. If you like Mogwai or Jesu or Explosions in the Sky, then you probably should learn about Bark Psychosis.

In fact, Bark Psychosis is the bridge between post-punk and post-rock. They are what connects Joy Division and Durutti Column to Tortoise and Godspeed You! Black Emperor.

This album has been reviewed with an Onkyo TX-8020 receiver, Jamo S60 SUR bookshelf speakers, Yamaha YST-FSW050 subwoofer, and Pioneer PL-255 direct drive turntable.

I started off disliking Band of Horses' Cease to Begin. At first glance, it sounds like an emo-country monstrosity. And what's more it lacks the reverb wash of their debut album Everything All the Time.

But after a few more listens, Cease to Begin really starts to grow. As it turns out, having a taste for pop hooks isn't such a bad thing for an indie band.

Part of the big difference in sound is due to personnel. Co-founder Mat Brooke left the band, leaving Ben Bridwell completely in charge of songwriting duties. The result is a more easy-listening effort.

Easy-listening, as it turn out, isn't such a bad thing.

Themes

One of the biggest differences between the debut album and this release is that Cease to Begin lacks the previous sense of transcendence. In terms of content, this album crashes down to earth. This, in turn, makes it more relateable.

Cease to Begin is about love and longing. This is sung in slice of life vignettes. You really get the sense, when hearing this album, that you're having a conversation with someone while on a long ride in a pick-up truck.

And as much as I've decried this style of band -- this music has become this generation's version of adult contemporary -- I have to laud Band of Horses for getting so damn personal on this album.

Sound

Band of Horses has always been one of those guitar-and-mandolin outfits. In this regard, they're not so different from Mumford and Sons.

The difference is that Band of Horses seems that much more authentic. This is a band that very much plays in the rhythm and cadence of the Pacific Northwest. This is their real musical culture.

Sometimes they play hard and heavy. Other times, they hang back and play a ballad. The point here is that, musically, this album comes from a real place. This is Americana because it's from a quirky slice of American music.

Previously, I alluded that this sounds like emo-country. I believe that's still accurate. "No One's Gonna Love You" sounds like something Chris Carrabba would pen. It's got that slightly punky edge while paired with that familiarity of a rural setting. At the same time, I heare echoes of country legend Hank Thompson.

Tracklist

Side One:

"Is There A Ghost" - 2:59

"Ode to LRC" - 4:16

"No One's Gonna Love You" - 3:37

"Detief Schrempf" - 4:28

"The General Specific" - 3:07

Side Two:

"Lamb On The Lam (In The City)" - 0:57

"Islands On The Coast" - 3:34

"Marry Song" - 3:23

"Cigarettes, Wedding Bands" - 4:35

"Window Blues" - 4:01

Production

This album was produced by Phil Ek, who also produced Everything All The Time.

Ek is a proflific indie producers who's also worked on albums by Fleet Foxes, The Shins, and The Shout Out Louds.

I criticized the dynamic range of Everything All The Time for good reason. It was one of the most compressed albums I've ever heard on vinyl.

The dynamic range was massively improved for Cease to Begin. It's still not optimum, but neither is it terrible. It is also drastically better than the digital versions of this album.

Packaging

Catalogue number is SP 745, issued by Sub Pop, and manufactured in the USA in 2007.

The front cover features a painting of a moon hovering and reflected over dark waters. The band's name is written in silver cursive script.

The back cover features a black backdrop with the tracklist in all caps sans-serif silver. The record label logo, copyright and barcode ("0 98787 07451 2") are displayed at the very bottom.

The innersleeve is plastic.

The insert has a picture of a sunset near a beach on one side, and personnel credits on the other side.

The vinyl disc is black. The etchings say "GOLDEN", "15956.1(3)", and "SP-745-A (or B)"

The vinyl label is black with silver sans-serif font. It displays band and album names, the label logo, side label, tracking speed, catalogue number, tracklist, and copyright information.

This is a much better packaging effort than the last release.

Recommendation

Holy crap, this is a great album on vinyl. The dynamic range is so much better than on digital versions of this album. For that reason alone, you should by this album.

Another reason is due to price. This album is $15 on Amazon, and it contains a download code! This is tremendous value!

This time out the packaging is decent. The innersleeve is plastic, but it's a stiff plastic that easily enables you to put the disc back in the sleeve.

If the last vinyl review is anything to go by, I don't have high hopes for this release. Band of Horses' debut album, pressed in 2015, has one of the most disappointing packaging I've ever seen.

Even so, I like Band of Horses. This is a band that really knows how to make you feel like you're witnessing a live show even if you're listening in your bedroom. And that takes skill.

Cease to Begin is their sophomore release. I hope this vinyl edition is better than their debut. My review will be release Monday.

This album has been reviewed with an Onkyo TX-8020 receiver, Jamo S60 SUR bookshelf speakers, Yamaha YST-FSW050 subwoofer, and Pioneer PL-255 direct drive turntable.

The truth is that Band of Horses is just another mid-noughties indie-folk outfit.

But experience is rarely about the truth. And this record reminds me of a vivid experience: decrepit barstools, cheap beer, broken down P.A. systems that sound like shit even as they play to half empty venues. Yet, that doesn't mean the band lacks from playing with gusto. Oh no, they will play with ever more liveliness.

If I'm being completely objective, Everything All the Time should suck. But what am I kidding? I loved this album because it transported me to my happy place.

And my happy place is where Pacific Northwest bands, sporting flannel and beards, give their music a solid go -- putting on the performance of their lifetimes even as so few people witness it.

Themes

Everything All the Time sounds familiar because, to be honest, you've probably heard something similar to this before.

If you tune into one of those radio stations that plays The Shins, Mumford & Sons, and Coldplay on repeat, you'll recognize this for what it is. And yeah, I don't blame you if you've already made up your mind to not like this because I also tire of this same generic middle-of-the-road pablum fed to the PBR-swilling crowd.

But there's something about Band of Horses -- something grandiose. While other indie bands give off a steady "meh" of "We're not trying to be cool," this particular band mines for transcendance.

This is hinted with lyrics like, "At every occasion, I'm ready for a funeral."

To me, there's something real about sentiment like this. It might not be everyone's cup of tea -- and I don't blame them. Once again, though, I remember drinking that cheap beer on that barstool with duct tape on the seat. It still feels real to me.

Sound

There's nothing innovative about this record.

But oh my God, when that reverb-washed guitar just overwhelms your ears, you can forgive that. That's the story: reverb, reverb everywhere. While reverb can be a gimmick much like anything else, there's just something majestic about how this is executed.

What I'd immediately compare this to is Neil Young and The Sundays. This is indie folk with a poppy bent. Electric guitar is aggressive, but things also get acoustic, and some mandolin and piano makes a grand appearance.

Now are Band of Horses the best at what they do? That's arguable. But there's no question that I like this record.

Tracklist

Side 1:

"The First Song" - 3:43

"Wicked Gil" - 2:57

"Our Swords" - 2:26

"The Funeral" - 5:21

"Part One" - 2:36

Side 2:

"The Great Salt Lake" - 4:45

"Weed Party" - 3:09

"I Go To the Barn Because I Like The" - 3:06

"Monsters" - 5:21

"St. Augustine" - 2:41

The total playing length is 36:06

Production

This album was recorded at Avast Studios, and was produced, engineered, and mixed by Phil Ek.

Ek has worked with a number of notable artists, including Father John Misty, The Walkmen, Les Savy Fav.

I have really mixed feelings about the mastering. On one hand, it really does capture the feeling of being at a live show. When I hear this album, I can practically taste the shitty beer at the shitty venue -- and it fills me with a warm feeling.

On the other hand, why didn't they give this album more dynamic range? Sure, on the opening song, it makes sense to be balls-to-the-wall loud. But for the folkier numbers, why couldn't they allow for more quiet?

Packaging

Catalogue number is SP 690, issued by Sub Pop in 2015, and manufactured in the USA.

The front cover features a painting of trees mirrored horizontally. The band's name is in white cursive font in large print, with the album name in yellow all-caps sans-serif.

The back cover features the track list, with label logo, copyright information, and a barcode: "0 98787 06901 3".

The innersleeve is plastic. The liner notes are on tan-brown paper, and displays songwriting and personnel credits.

The vinyl disc is black. The etchings say "14144(3)", "GOLDEN", and "SP 690-A (or B)".

The vinyl label is dark brown with grey lettering. On the label is band and album names; side, speed, and stereo labels; label logo, tracklist, and copyright information.

Recommendation

I won't lie. I was profoundly disappointed in this vinyl release. This had to be the laziest packaging for any repress I've ever received. In this day and age, there's no excuse to offer flimsy plastic for the innersleeve -- which is a pain when you put the disc back in the cover.

On top of that, the mastering isn't that good. This was a chance for Sub Pop to improve the dynamic range. Alas, they did not.

Even with that disappointment I still recomment Everything All the Time because this was dirt cheap. No joke, you can buy this new on Amazon for slightly more than $10. On top of that, it comes with an MP3 download code too!

At the end of the day, I like this album. Though this vinyl release is lacking, it still hits the right price point.

I guess this week's theme is, "Get over your hang-ups".

You see, I hate horses. Whenever I see a horse, I feel an unreasonable revulsion. And here I am reviewing an album by Band of Horses.

Thankfully, there's no horses on the cover so I can somewhat tolerate listening to this album -- but it's not easy.

I know literally nothing about this band. I do know they're on Sub Pop, so they'll probably be good, though that's not a surety. I also know they have a cult following.

This album has been reviewed with an Onkyo TX-8020 receiver, Jamo S60 SUR bookshelf speakers, Yamaha YST-FSW050 subwoofer, and Pioneer PL-255 direct drive turntable.

Albums like this make vinyl really rewarding.

I say this with full acknowledgment that Banco Del Mutuo Soccorso has very little appeal to most readers. Hell, this band doesn't even have hipster appeal. Banco is a prog rock band that sings entirely in Italian.

There are generally only two types of people who would seek out this kind of music: Euro-hippies and nerds. That's right, not even hipsters will go out of their way to name check this band -- because, let's face it, Banco is the furthest thing from Steve Reich or Brian Eno.

But, god damn it, I love this album because an Italian approach to prog deserves praise. To consider why, let's acknowledge that prog rock is deeply indebted to classical music. Let's also acknowledge the Italy is responsible for some incredible achievements in classical.

Therefore, what we get with Banco is some incredible fusion that really pushes prog rock as an art form!

Themes

I'll be real with you. I don't speak a lick of Italian, so I can't comment on the lyrics.

I can comment on the music arrangements, though. Like many prog works, this is a concept album. You'll hear a motif, and half hour later, the motif becomes more fully developed.

As mentioned, the vocals have an operatic quality. I suspect -- but can't confirm -- that this album serves to deliver a narrative. Ideologically, this music takes on a romantic tone.

What does it all mean? I can't really tell you.

Sound

Do you love keyboards? I mean, do you really love keyboards? Then you will be wowed by Banco.

The interplay between piano and Hammond organ really stands out. This is the kind of twin instrumental attack that K.K. Down and Glenn Tipton (of Judas Priest) would bow their heads in respect.

What works is the dynamics. For a moment, you'll hear the effect of the delicate touch of individual notes but then... that Hammond kicks into gear and all hell breaks loose! You'll rarely hear virtuoso keyboardists who rock so hard.

But how about the voice of Francesco Di Giacomo? This man had remarkable talents. He reminds me Andrea Bocelli.

Now operatic vocals paired with rock music sounds kind of lame. Did you hear that duet with Luciano Pavarotti and Lou Reed? It was embarrassing.

In this case, the approach works because rather than being overwhelmed by bluster, Banco really knows how to build the tension so that when a song reaches climax, the pay-off is immense!

Tracklist

Side 1

"In Volo" – 2:13

"R.I.P. (Requiescant in Pace)" – 6:40

"Passaggio" – 1:19

"Metamorfosi" – 10:52

Side 2

"Il Giardino del Mago" – 18:26

"Traccia" – 2:10

The total playing time is 41:40.

Production

This album was produced by Alessandro Colombini and Sandro Colombini. I wasn't able to find a whole lot of information about these producers as they're not very prolific.

The sound quality could be better. It's not always clear, and it sometimes comes across as muddy.

As far as the dynamic range? It's impressive. In fact, this album has one of the most impressive dynamic ranges I've ever heard. This mixers really know how to contrast the quiets with the louds.

Even so, this band has busted a myth that I've held for quite a few years. Dynamic range does not mean impressive mastering. Clarity is likewise important.

Packaging

Catalogue number is ORL 8041, issued by Ricordi, and manufactured in Italy during 1976.

The front cover features an orange piggy bank with the band's name embossed on a gold plate. It has a white backdroppe with blue clouds in the upper left corner.

The back cover likewise feature the orange piggy bank with the tracklist and personnel credits in black sans-serif font. It is hard to read. "ORIZZONTE" is written on the bottom, along with catalogue number and copyright information.

The innersleeve is a black-and-white catalogue of the record label's other releases.

The vinyl disc is black. The etchings say, "ORL-8041-A (or -B)", "PR", "S-6094-2", "3572", and "PR".

The vinyl label is green and beige. It lists the band name, tracklist with personnel and songwriting credits, catalogue number, indication of stereo and playing speed, and copyright information.

Overall, the packaging is very flimsy.

Recommendation

As far as the music is concerned, it's highly recommended. This album should be regarded as one of the classics of prog rock.

But should you buy it on vinyl? My particular pressing isn't worth it. The packaging is incredibly flimsy. As far as the mastering itself, it sounds muddy -- though the dynamic range is superb. Would this be better than a CD or MP3 version? I honestly don't know.

What I do know is price. This album cost me CAD$40. While this isn't that expensive, the price doesn't match what you'd expect from the product. If you want a better vinyl release, purchase a later re-pressing. I got one of a different Banco album, and there was a lot of love and care put into that new release.

In the vinyl world, we tend to wax nostalgic about better days gone by. However, sometimes those better days are now. In this situation, if I had to choose between a 70s press and a 10s re-press, I'd choose the release manufactured this decade.

This is Banco Del Mutuo Soccorso's self-titled debut.

I've reviewed another album of theirs previously, and believe they're a hidden prog rock gem (at least to the English-speaking world). What's sets them apart is the stunning operatic voice of Francesco Di Giacomo. Of course, Nocenzi are also great talents. There's a reason I love this hobby: I can be exposed to acts that I'd never otherwise know about.

This album has been reviewed with an Onkyo TX-8020 receiver, Jamo S60 SUR bookshelf speakers, Yamaha YST-FSW050 subwoofer, and Pioneer PL-255 direct drive turntable.

I had low expectations for this album -- so colour me surprised that this self-titled album not only meets the hype, it exceeds it!

For context, I reviewed Music from Big Pink last week and found that, while it has a few fine songs, it doesn't live up to the mythos. The follow-up, on the other hand, has no such issues. It works as a cohesive whole.

A big part of this has to do with identity. For the bulk of the album, Robbie Robertson is the sole songwriter, and he's really come into his own.

Another reason is that they're no longer caught up in the worlds of folk and rock. For all intents and purposes, they're an Americana band -- one of the first!

How do I emotionally connect with this album? With admiration. I'm convinced The Band can literally do whatever they want.

Themes

The Band is an oddity. The bulk of their members are from Canada, but their genesis was as a Southern rockabilly act known as The Hawks (who backed Ronnie Hawkins). Levon Helm was a carryover of this earlier incarnation, and granted The Band much of their authenticity.

By this album, however, it is Robbie Robertson who began putting his stamp on The Band -- and he was very much a cultural outsider to this genre of music.

It's now here that I feel the need to mention my bias. I have a lot in common with Robbie Robertson. Like Robertson, I am a Jewish/Native man from Canada. He comes from the Six Nations reserve in Toronto, while my family is Metis/Ojibwe from Northern Ontario.

In a certain sense, it's weird that Robertson would gravitate to the American South for his musical inspiration. Nobody is mistaking him for a good ole' boy.

Yet for a certain generation of Native folk in Canada -- and Robbie Robertson was one of them -- this kind of music was a big deal. I knew an old man who got by on a diet of Hank Williams and Johnny Cash. Sure, this younger generation loves their hip hop and heavy metal, yet it's still very easy to find a Native kid playing some country or blues -- and being incredibly good at it.

So The Band's music is, for all intents and purposes, inspired by the South. And it continuously alludes to Southern folk tales. Numerous bands from other countries dip into that well (The Rolling Stones and The Bad Seeds come immediately to mind).

However, it's The Band that does it almost better than everyone else. Their earlier rockabilly incarnation gives them legitimacy, but it's the outside perspective of Robertson that allows them to curate the best parts.

Sound

I've been harping on Robbie Robertson thus far, and I should since he wrote almost all of the songs.

The most inspiring aspect of The Band, though, is how they nail it. Easily, they could have become just another folk or psychedelic act, and nobody would have be-grudged them. They probably would have been regarded as amongst the best if they went that direction.

Instead, they threw in country, boogie, blues, and folk and created a concoction that was both familiar and completely unique.

Literally every musician on this album is a virtuoso. Levon Helm deserves a call out for balancing vocals and drums at the same time.

But, oh man, how about the twin keyboard attack of Garth Hudson and Richard Manuel? These guys give the band a gravity that builds a unique sound.

Then there's Rick Danko. His voice is not as characteristic as Helm's but he nevertheless is an incredible ingredient in the mix, and he's a fantastic bass player too.

Tracklist

Side One:

"Across the Great Divide" - 2:53

"Rag Mama Rag" - 3:04

"The Night They Drove Old Dixie Down" - 3:33

"When You Awake" - 3:13

"Up On Cripple Creek" - 4:34

"Whispering Pines" - 2:58

Side Two

"Jemima Surrender" - 3:31

"Rockin' Chair" - 3:43

"Look Out Cleveland" - 3:09

"Jawbone" - 4:20

"The Unfaithful Servant" - 4:17

"King Harvest (Has Surely Come)" - 3:39

So many great tracks, and I'm tempted to just say they're all winners. But my absolute favourite track is "Up On Cripple Creek" because that's funky as hell.

Production

This album was engineered by Robbie Robertson and John Simon.

Simon had worked on The Band's previous album Music from Big Pink. He also worked on classic albums by Janis Joplin, Simon and Garfunkel, and Leonard Cohen.

Regarding production quality, I believe the dynamic range on Music from Big Pink is superior to this album. I suspect to receive big blowback from this statement since many believe the previous album had "terrible" mastering.

I expect many "audiophiles" to step out of the woodwork and cry heresy. However, I sure as hell am not going to buy three versions of the same album just to do a comparison -- especially if no one's compensating me for the effort.

So if you're going to harp on about how "terrible" the mastering on re-issues are... prove it! And by that, I mean go do a blind hearing test. Prove that you can hear the difference in quality.

Packaging

Catalogue number is STAO-132, issued by Capital Records, and manufactured in the US in 2008.

The front cover features a brown background with "The Band" in all caps sans-serif shadow characters. Below is a black and white portrait of the entire band.

The inside gatefold features colour and black and white photos of various band members in the midst of performance. It has a matte finish.

The back cover features this quote by The Darktown Strutters' Ball by Shelton Brooks:

*I'll be down to get you in a taxi honey Better be ready by half past eight Now, honey don't be late I want to be there When THE BAND starts playing...

On the top right is the catalogue number beside the word "STEREO".

There's also personnel credits, copyright information, and tracklist with songwriting credits.

The innersleeve is white with a plastic finish.

The vinyl disc is black. The etchings says, "MASTERED BY CAPITOL", "5099924300810-A (or B)", "S66826", "01", an "RM".

The vinyl label is green with label logo, band name, track list, catalogue number, personnel credits, stereo label, and copyright information written.

Recommendation

I unreservedly recommend The Band on vinyl.

On Amazon, you can buy this for $21.99 new, and $7.95 used. It is also offered for AutoRip. Is it worth your cash? Absolutely!

This album has quickly become a favourite of mine. For me, it ranks up there with The Clash's London Calling and Arcade Fire's The Suburbs. This album is incredibly raw, yet never ever compromises the songwriting or musicianship.

When you review an album that's almost 50 years old, and state that it doesn't deserve its status as a classic, you're bound to get some blowback. Which is exactly what happened yesterday when I reviewed Music from Big Pink. Simply put, I just don't think Robbie Robertson's material stood up to the magnificence of Richard Manuel and Bob Dylan.

On their self-titled sophomore LP, Robertson is the main songwriter. Some people state that this follow-up is superior to Music from Big Pink, and that it's here that Robertson really comes into his own. Having not heard this album yet, I can't say for certain.

As mentioned previously, I respect The Band. Even though I believe their debut album didn't live up to the hype, I fully acknowledge they were Americana pioneers, and that they laid the template for what followed. Without The Band, there wouldn't be Bruce Spingsteen, Blue Rodeo, or Wilco (at least as we understand them).

This album has been reviewed with an Onkyo TX-8020 receiver, Jamo S60 SUR bookshelf speakers, Yamaha YST-FSW050 subwoofer, and Pioneer PL-255 direct drive turntable.

I get why I should like The Band. They really were the link between Ronnie Hawkins, Bob Dylan, Allen Toussaint, and The Beatles. For that fact alone, they're legendary.

Prior to spending a week with Music From Big Pink, I was apathetic to them. At the very least, I saw them as a middle of the road roots rock band that wasn't inoffensive to my ears.

And now? I like The Band. I have respect for them. However, I just can't down with the notion that Music From Big Pink is one of the greatest albums of all time -- though it has its moments perfection.

Before any of you decide to ragefully drag me to the guillotine, hear me out. What I've realized about Music From Big Pink is that I've benefited from nearly 50 years of other artists building from this album. Everything I like about artists like Bruce Springsteen, Blue Rodeo, and Pearl Jam can be found on this album.

Did some of those artists go on to greater heights? Oh yeah. But The Band set the agenda for much of what was later to follow.

Themes

Lest you think I'm waxing to poetic about Music From Big Pink's significance, consider the musical landscape in 1968. This was an age in which the British Invasion triumphed, psychedelia was the overwhelming fashion, and almost everyone was trying to get more and more ornate.

The Band then came along and acted as though none of that happened. Part of the reason they got away with it was due to their connection with Bob Dylan, but that doesn't explain all of it. Nobody was mistaking The Band as a folk act.

In a strange way, Music From Big Pink succeeded because they were outside celebrators of the American mythos. Although they might seem as American as apple pie, almost all members (with the exception of Levon Helm) were from Canada.

(On the flipside, this is why Arcade Fire's music works. Win and Will Butler are Americans who can approach Canadian music as outside observers.)

The crux of this overarching American mythos is a myth embedded in Music From Big Pink itself. You see, Big Pink is a house. As explained on the inside gatefold:

A pink house seated in the sun of Overlook Mountain in West Sugerties, New York. Big Pink bore this music and these songs along its way. It's the first witness of this album that's been thought and composed right there inside its walls.

West Saugerties is a tiny hamlet that you can literally pass within seconds. It may very well be that the entirety of the town was pictured on the inside gatefold. As for Big Pink? The house still stands.

Big Pink itself was a worthy venue to this hymn of Americana. It's an insignificant house in an insignificant town rendered significant due to the stories attached to it.

Sound

But what's the reality of Music From Big Pink? Objectively, these are all great musicians. Owing to their pedigree, they would have to be.

Try as I might, though, I don't feel The Band lives up to the hype. Most of the songs are meh, and I think the reason is that Robbie Robertson must have not hit his stride. "To Kingdom Come" and "The Weight" just aren't very good. They seem gimmicky and lack catchiness.

On the other hand, songs by Bob Dylan and Richard Manuel (as well as collaboration between the two) are incredible. If you can't stand Bob Dylan's voice but love his songwriting, go hear "I Shall Be Released". That is an incredible song and feature beautiful vocal performances

Honestly, I'm torn about this album. I can't say its overrated because it really isn't. I respect it. I appreciate where it comes from.

But half the songs are average, and the other half deserve all the acclaim. This album is a classic -- except for the times that it isn't.

Track listing

Side One:

"Tears of Rage" - 5:23

"To Kingdom Come" - 3:22

"In a Station" - 3:34

"Caledonia Mission" - 2:59

"The Weight" - 4:34

Side Two:

"We Can Talk" - 3:06

"Long Black Veil" - 3:06

"Chest Fever" - 5:18

"Lonesome Suzie" - 4:04

"This Wheel's on Fire" - 3:14

"I Shall Be Released" - 3:19

Production

Music From Big Pink was produced by John Simon, it was engineered by Tony May and Rex Updegraft, and engineered by Don Hahn and Shelly Yakus.

John Simon has produced notable works by Big Brother & the Holding Company, Simon & Garfunkel, and Leonard Cohen.

A few people have mentioned the original pressing had amazing production, and is superior in every way to reprints. With that said, the reprint I have is actually decent. Is it the best I've ever heard? Nope, but the dynamic range is decent.

This reprint, at the very least, is respectable.

Packaging

Catalogue number is SKAO 2955, issued by Capitol Records, and manufactured in the USA during 2008.

The front cover features a painting by Bob Dylan.

The left of the inside gatefold features a photo of Big Pink, a band portrait, liner notes, personnel credits, and track list.

The right of the inside gatefold features a portrait of the hamlet townspeople with band members included.

The back cover features the album name in all caps serif font, a picture of Big Pink, catalogue number, stereo information, and copyright information.

The innersleeve is white with a hollow center.

The vinyl disc is black. The etching says, "S-66787", "5099924279314-A (or -B)", "G1", and "RM".

The vinyl label is black with a rainbow on the edges. It contains the label logo, album name, personnel credits, stereo, catalogue number, side labels, track list with songwriting credit, and copyright information.

Recommendation

First off, if you already love this album but are wondering if you should invest in a vinyl reprint, yeah you should. Some audiophiles will swear that the reprints sound horrible, but this isn't the case. It sounds great. Keep in mind, I can't compare it to the original pressings since they're incredibly expensive -- but compared to other album reprints I've heard from other bands, this is actually very good.

As for whether I recommend the album itself? Well, that depends. If you want to understand the literal pioneers of roots rock, Music From Big Pink is just the ticket.

On the other hand, if your purchase of this album is dependent on whether it lives up to the hype... it does not. This is a decent album with adequate songs mixed with downright inspired songs. Comparing the leaps in quality is night and day.

This is one of those days in which I reveal my ignorance. You see, I've never heard any of The Band's albums before.

I know why they're a big deal. They were Ronnie Hawkins' back up band before they got famous. They also did those basement sessions with Bob Dylan, which is apparently legendary. It's just... I never went out of my way to hear them.

So now's my chance. Here Music From Big Pink, the debut album from The Band. Its influence is said to be huge, especially on Eric Clapton, George Harrison, and Pink Floyd.

As a side note, take a look at the bottom of the cover. This occurred because some overzealous customs agent got overzealous with my package, shredded it open, and damaged the album. Thankfully, I don't collect vinyl for the looks, but for the sound.

This album has been reviewed with an Onkyo TX-8020 receiver, Jamo S60 SUR bookshelf speakers, Yamaha YST-FSW050 subwoofer, and Pioneer PL-255 direct drive turntable.

Before reviewing Darwin!, I had never heard an example of Italian prog in my life. In the 70s, this was apparently a big deal. And not only was it a big deal, it had a certain distinctiveness not replicated anywhere else.

Hell, Italian anything was distinct during the 20th century. Italian had a reputation for being both high culture and trasy. In film, Italy gave us the sublime La Dolce Vita; they also gave us the appalling Starcrash. This holds true for music as well: as good as Giorgio Moroder is, Eiffel 65 is just as horrible.

So where does Banco Del Mutuo Soccorso stand? They are a triumph -- but they are an acquired taste. If you're expecting something akin to Pink Floyd or Genesis, you're going to have a bad time.

Consider what prog rock is supposed to be: rock music with techniques borrowed from classical and jazz music. Of course Italy is going to have an interesting slant on prog. Italy is a nation that has defined much of the Western classical tradition. To them, some of their folk is also their classical.

Themes

One of the interesting ways in which classical and prog align is in the love of narratives. In classical, this often takes the form of opera; in prog, this takes the form of the concept album.

Even so, consider that Antonio Vivaldi's The Four Seasons was not an opera but was still a concept -- and its late 20th century revival was largely due to the emergence of the LP. Concurrently, Andrew Lloyd Webber and Tim Rice released Jesus Christ Superstar which was a literal rock opera -- and was first a prog concept album before becoming a musical!

Banco's album Darwin! is likewise a concept album. This one is devoted to the theory of evolution. Since this entire album is sung in Italian, I won't attempt to comment about the lyrics. However, it's worth nothing that Darwin! is literally operatic, and in many ways reminds me of Jesus Christ Superstar.l

Sound

Darwin! has all the staples of prog featured everywhere else: stellar keyboards, odd time signatures, virtuoso guitar. Yet, nobody in their right minds would ever mistake them for Yes or Rush.

So what sets them apart? The bel canto. To those who don't know better, Francesco Di Giacomo's vocals sound downright operatic. However, this style of singing was established well before opera. It was found in Italian folk music reaching back to the 16th century.

It's no wonder this vocal style found a niche in opera. It has a pure tone, emphasizes drama, and is easily amplified on stage. But how does it work in a rock setting?

As it turns out, it's fantastic. With thundering bass, guitars, keyboards, and drums, something needs to cut above the din. A florid and clearly enunciated singing voice does the job spectacularly.

Tracklist

Side One:

"L'Evoluzione" – 13:59

"La conquista della posizione eretta" – 8:42

Side 2:

"Danza dei grandi rettili" – 3:42

"Cento mani e cento occhi" – 5:22

"750.000 anni fa ... L'amore?" – 5:38

"Miserere alla storia" – 5:58

"Ed ora io domando tempo al tempo ed egli mi risponde ... Non ne ho!" – 3:29

The total playing time is 46:50.

Production

This album was produced by Alessandro Colombini.

Colombini is not exactly prolific, but he's worked with a number of Italian artists such as Maxophone, Rocky's Fiji, and Lucio Dalla.

For those of you questioning whether vinyl produces superior mastering, I'd say this album is one example where the digital versions are simply not up to snuff. By no means do I believe vinyl is superior to CD, but by God, the CD version does this album a disservice.

Packaging

Catalogue number is 88875121241, issued by Sony Music and RCA in 2015, and manufactured in Italy.

The front cover features a pocket watch with a man in the center pointing to 11:10. On the left side is the band name, and on the right side is the album name.

Inside the gatefold is the innards of a stop watch, On the left side is the gears, on the right side is a portrait of the band (all shirtless) holding up some clocks. On the far left is the tracklist and personnel credits.

The back cover features a train embedded on the pocket watch. On the upper right corner is a barcode (8 88751 21241 1). On the bottom is copyright information, label logos, and a hologram.

The innersleeve is glossy with lyrics in black acompanies by sepia-toned photographs of each band member.

The vinyl disc is black. The etching says, "133565E2/A".

The vinyl label features colour graphic, the album name, tracklist, band name, catalogue number, label logos, and copyright information/

Recommendation

If you're musically adventurous, I highly recommend this album on vinyl. Italy has an intriguing slant on prog, and Darwin! is an excellent example of this. Moreover, the vinyl edition is far superior to the digital counterparts.

First, is the art. Event though there's only one disc, I love that this is a gatefold. When it comes to album art, there's nothing like gatefold -- and the innersleeve is also pretty nice.

The next consideration is price. On Amazon, you can acquire the vinyl edition of this album for $14.49. No matter how you slice this, this is incredibly affordable for brand new vinyl.

The mastering is also impressive. This album is one in which it's better to go vinyl than digital because it really shines on wax.

Until this year, I had never heard of Banco Del Mutuo Soccorso. I had no inkling of their significance. And mostly, I still don't.

They're supposedly the standard-bearers for Italian prog. Now American, English, and German prog gets a whole lot of attention. And recently, South African prog has been making waves.

But Italian prog? The closest I've heard is that rock album put out by Pope Francis last year. Seeing how the Pope is Argentinian, and the Vatican City is a separate country, I don't think that counts.

Apparently, prog was a big deal in Italy back in the 70s. Banco Del Mutuo Soccorso along with Le Orme fired up the charts. Banco's concept album about evolution -- appropriately titled Darwin! -- is as prog as they come.

This album has been reviewed with an Onkyo TX-8020 receiver, Jamo S60 SUR bookshelf speakers, Yamaha YST-FSW050 subwoofer, and Pioneer PL-255 direct drive turntable.

You have no idea how much I wanted to review this album last week. But alas, circumstances in life prevented me from doing so. But no worries, I'm giving it a shot right now.

Here in Canada, Blue Rodeo is legendary. They're legendary in the same way Bruce Springsteen is. They've inspired a slate of like-minded bands and musicians: The Sadies, Cuff the Duke, Sarah Harmer, etc. And for good reason. The songwriting duo of Jim Cuddy and Greg Keelor have created decades of memorable songs.

I must pause for a moment and admit something. Prior to listen to this album, I wasn't a fan of this band. They seemed all too Canadian. After lots of listening, it's actually grown on me.

Themes

One of the difficulties in writing about this band is that it's hard to really explain them if you're not Canadian. They have an immediate sense of place, and if you're not familiar with that place, you might now get it.

Yes, to really explain Blue Rodeo, I must give you a sense of place. Every small town in Canada has that place where you down beer, talk about hockey, and reminisce about women you've loved and lost. Sure, many nations of the earth have a place similar.

However, remember that Canada is a big expansive landscape, and outside these small towns is literally the unknown. Some might call it wilderness but in many ways, it's a question mark. In contrast, these small towns have a blue collar familiarity that borders on the claustrophobically neurotic.

Diamond Mine is an examination of this Canadian blue collar life. It's about bad decisions made while drunk, and burning cars left by the side of the road. The last song on this album is even entitled, "The Ballad of The Dime Store Greaser and The Blonde Mona Lisa".

Like I said before, I didn't immediately like this album when I first heard. It has a way of sneaking up on you, though.

Sound

A big reason for my newfound appreciation is that Blue Rodeo has found the sweet spot between rock and country while retaining a serrated edge not found in tropes of either genre. And they do it with purpose and identity.

This particular album has some quirks. In between a few tracks are some jazzy interludes. And then it launches into boisterous jams chock full of guitar, organ, and drums punctuated by twangy vocals.

Now who exactly listens to this kind of music? Think about a farmer rocking a Dead Kennedys t-shirt, or a thrift store granny who caught The Modern Lovers back in the day. They like their rock n' roll as much as anybody else, but after years of paying the rent, it makes no sense to fight the system. Hell, they are now the system in many ways -- and that's okay.

Tracklist

Side 1:

God and Country - 3:32

How Long - 3:59

Love and Understanding - 4:46

Girl of Mine - 4:34

Diamond Mine - 8:18

Now and Forever - 3:04

Side 2:

House of Dreams - 4:39

Nice Try - 6:51

Fall in Line - 3:21

One Day - 3:17

Florida - 3:40

Fuse - 3:40

The Ballad of The Dime Store Greaser and The Blonde Mona Lisa - 3:24

For me, the stand out track is God and Country. That's a stomper.

Production

This album was produced by Malcolm Burn and Blue Rodeo.

Burn has produced for many iconic artists including Iggy Pop, John Mellencamp, and Emmylou Harris.

The dynamic range on this album is superb. Some songs are a real audiophile treat -- particularly the musical interludes.

Packaging

Catalogue number is 25-62681, issued by Risque Disc, and manufactured in Canada in 1989.

The front cover has a block backdrop with a photo triptych of the band playing in front of a brick backdrop. The photos each have a red tint. Between the photos are the band and album names. The band name is is grey and white lower case serif font, while the album name is in a red oval with white sans-serif all caps.

On the left side of the back cover features the band gathered in practice. The right side features the track list, production credits, the label logos, copyright information, and a barcode: 0 22925 62681 3".

The black and white innersleeve features personnal credits on one side, and song lyrics on the other.

The vinyl disc is black. The etching says "25-62681-A (or -B)", "STA-897304ADMM", and "I75-SP4AN".

The viny label is beige with black type. It displays the band and album names, the track list, the record label logo, side label, playing speed, catalogue number, songwriting credits, and copywright information.

Recommendation

I literally bought this at a record shop for $1 -- and that's in Canadian currency.

So did I get good bang for my buck? Oh, hell yeah. It's hard to overpay at this price.

Even so, it's worth buying this album new off Amazon as well. The price is $19.98. It may not come with all the bells and whistles like an MP3 download code, but for a decent alternative country/rock album, it's worth the investment.

There's a genre of music I like to call Canadiana. You might mistake it for Americana, but of course it has all the quirks of being... Canadian.

Neil Young is an example of Canadiana. So is Jody Mitchell. Stompin' Tom Conner is so clearly Canadiana that they play his music in hockey arenas.

And then there is Blue Rodeo. They've so close to the pulse of Canadiana that they've collaborated with a who's who of Canadian musicians: Sarah MacLachlan, Burton Cummings, the Cowboy Junkies, the list goes on. To top it off, they've sold well over 3 million albums.

But should this music have any appeal outside of Canada?

I think so. Jim Cuddy and Greg Keelor are incredible songwriters with the gift of both lyric and hook. And more than that, they've proven influential to bands like Wilco and The Sadies.